The eponymous debut of The Setting (Loyal Label, 2026) features a new trio of bassist-composer Elvind Opsvik, keyboardist Elias Stemeseder, and guitarist Will Graefe. The concept of a trio sounds fairly straightforward until one takes a closer look at the instrumentation of this particular group with Opsvik on not solely double bass but also drum machine, Stemeseder on synthesizers, piano, Wurlitzer electric piano, and lute-harpsichord, and Graefe on and guitars, electronics, and Leslie speaker. The album is one of those genre-blurring, genre-fluid soundscapes that encompasses art pop, improvisation, ambience, and electro-acoustic experimentation. Reference points for the trio’s sound are ‘70s ECM recordings, Daniel Lanois, Ryuichi Sakamoto, Brian Eno, Joe Zawinul, and Kate Bush – quite a litany.
The group’s members share an immersion in contemporary indie rock, jazz, and contemporary classical. Opsvik, the elder among them at fifty-two years old, was born and raised in Norway. But he has lived in New York City for nearly three decades, establishing himself in art rock and progressive jazz. Graefe, also a songwriter and record producer, is is best known as a member of the band Okkervil River and as the lead guitarist for singer-songwriter Maya Hawke. Stemeseder is an aficionado of early music and alternate tunings who most recently contributed to Brandon Seabrook’s Hellbent Daydream (Pyroclastic, 2026). The producer is Randall Dunn who has worked with Björk and Jim Jarmusch among others. The trio delivers poignant, lush, and intriguing soundscapes, balancing an eerily familiar feel with colorful new approaches. The absence of drums on most tracks further adds to their dream state. Surprisingly, though, the music is far more minimal than complex; it’s the subtle layers that make it compelling.
Two singles have been released, “By the Light of the Moon” and “Hold On Tight to Your Music.” The former has a black-and-white video of forests, mountains, and rushing water. The track employs a drum machine, while synths, electronics, and guitar set up a chiming, rather mesmerizing backdrop. The latter features Opsvik’s bass intro over Stemeseder’s spare piano chords. As the piece evolves, it becomes both playful and dramatic, mostly through synths and effects. However, the chirping sound can become a bit annoying.
The opening “Corner Song,” finds a drum machines forming an infectious, elastic groove along with gentle piano and a steady bass presence. A light crescendo is provided at the end with a blend of Wurlitzer and harpsichord. “I Will Have to Whisper This” features Opsvik’s arco bass in cello-like mode, surrounded by electronic effects. He then switches to pizzicato on “Sacromonte,” another dramatic piece, with unexpected, even jarring bursts from his bandmates which ate offset by pauses and gentle tinkering before it collectively builds momentum to conclude with three emphatic bass notes. “Flourishing Flakes” is pure ambience, much that one would find on the ECM label.
“Time to Wake Up” also has a clock-like chiming quality before it hits twenty seconds of silence. From there, the sound becomes slightly more animated with a heavier bass presence, perhaps signifying the rustling of activity, ending with a ringing guitar note. “Union Plans” brims with ethereal, industrial sounds. “The Big Yard,” the most intriguing track, starts with an intimate conversation between piano and guitar echoes from Graefe while bass fills the bottom. And in the last section, the harpsichord blends nicely with the piano until it ends with stark piano chords.
It’s easy to get lost in the music ofThe Setting. It is a record ideal for contemplation or simply day-dreaming.
‘The Setting’ is out now on Loyal Label. It can be purchased on Bandcamp.
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